 Welcome everyone to Retouching Photos in Adobe Photoshop. Thanks so much for joining today's webinar. Before we get started I want to make sure everyone is comfortable using ReadyTalk, the webinar platform we are on today. You can chat into us throughout the webinar to let us know if you have any questions or problems by using that box on the lower left side of your screen. We will keep all lines muted today to get a clear recording for you to refer to later. Most of you will be hearing the audio play through your computer speakers so if you are hearing an echo or if the slides and audio fall out of sync you may need to close any instances of ReadyTalk that are open. You may need to dial in by the alternate toll-free number that you can call in with phone or Skype to use. At any time during the webinar you are welcome to use that. If you lose your Internet connection go ahead and reconnect using the confirmation or reminder email that you would have received when you registered. For those of you who just registered today or who received the reminder email an hour ago you should have received in that email a link to four different images that we will be working on live today. So if you want to have those open and saved in Photoshop you can work along with us while Wes shows us how to edit those images and retouch those images. So most of you again are on the streaming audio but if you want to dial in by phone and you lose your connection you can always dial back into that toll-free number. We are recording this webinar today and you can look for it along with all of our upcoming webinars and our previously archived webinars at TechSoup's website at techsoup.org slash community slash events dash webinars. You can also find it later today most likely on our YouTube channel at TechSoup Video. And you will get the full slide deck and the recording, all of the links discussed including the links of those images that we will be retouching today within the next few days. You can also tweet us on Twitter at TechSoup or using the hashtag T.S. Webinars. My name is Becky Wiegand and I'm the Webinar Program Manager here at TechSoup and I'm happy to be your host for today's event. We are going to be joined by two Wesses at TechSoup today, our West Squared team that we love having on these Adobe webinars. The first Wes who we'll be presenting is our Senior Web Content Developer here at TechSoup Global who writes about technology for TechSoup and our different product donation programs and he contributes to our design team. So he is using Adobe products all the time to help design creative copy for us and collateral and make our website prettier. And he has kind of hacker experience in learning how to use a lot of these tools so we are happy to have him joining us today. And he has done a series of these webinars and if you haven't seen him yet he has done Adobe for Beginners, Photoshop for Beginners, Photoshop for Advanced Beginners. He has done some on InDesign and he has written a blog series, a whole bunch of materials on the Adobe Creative Suite that you should check out. Our second presenter today is Wes White. We'll just hear from him for a few minutes where he will tell us a little bit about the Adobe Creative Cloud offer through TechSoup and other Adobe products available to you. You will see on the back end Terry McGrath from Adobe and Susan Hope Bard from TechSoup who will be on hand to answer your questions throughout the webinar. Looking at our objectives we will have just a couple of minutes to discuss with retouching. We always want to make sure that you are making ethical choices and how you are retouching images. And so we are going to just talk quickly about how to assess when it is okay to retouch a photo before you touch it. So think about that up front whether you should be messing with it if you have the permission to. And we all hear about the Photoshopping scandals of people making themselves skinnier or different looking or lighter or darker or what have you. So we want to just put that out there up front to be conscientious of that before you begin. And then Wes is going to walk us through getting a feel for three basic retouching tools and he will have you do it along with us if you've got those images open. And then he will show the magic and I put maniacal power of two other tools that can really work magic or they can really distort an image quickly so you need to use them sparingly. And so we want to make sure that you have some options that you can use to retouch images for your own organization's benefit. And then we will leave you with a list of additional resources to help you continue your learning and you will also learn about the Adobe Creative Cloud product. Before we get started I just want to show a little bit about TechSoup. If you are not familiar with us you can see us everywhere on this map that is blue is where we are in the world. Go ahead and chat into our chat window to let us know from where you are joining us today. Our staff here at TechSoup is headquartered in our San Francisco office right now but we are all over the map. So if you are joining us from someplace outside of the United States we recommend that you visit our TechSoup.global website where you can choose your country and find a donation program and meetups and other resources near you. Looking at our impact I won't go over all of these but we have contributed actually now more like $5.5 billion in technology products and grants to the NGO, library, social do-gooder sector around the world through partnerships with donors like Adobe and Microsoft and Symantec and many many others. I am proud to be part of it. In case you can't stick with us through the whole thing we will talk about this more in detail but you can access Adobe Photoshop. Any of you who want to look at it up front and ask us questions throughout the webinar can do so by looking at the program at TechSoup.org slash Adobe where you can find access to the full Creative Cloud All Apps subscription membership and you can also get access to the photography plan only or an installed Premiere Elements and Photoshop Elements offer. One other thing before we have Wes take over that he created this great little quiz I guess of sorts where you can go to our site and we will have a link to this in the resources later on where you can learn which app is the right app for the job that you are doing because so often we find that people say, I am going to create this in Photoshop when they are trying to create a newsletter. When really Photoshop is the tool you should be using to edit the images for the newsletter not necessarily to lay out the newsletter. So you can click on these little buttons to say I am creating a document like a newsletter and then it will ask you questions and you can yes, no, kind of help choose your own adventure and it will tell you which product is really the most appropriate that we recommend based on some good experience from people like Wes and also Adobe. So with that I would like to go ahead and have Wes join us on the line and tell us a little bit about when is it okay to retouch a photo to start with and then walk us through those tools. Thanks for joining Wes. Thank you Becky. So yeah, I would like to just start off from the beginning just one man's opinion on when it is a good idea to retouch a photo. Of course as Becky mentioned there is always some Photoshop scandal or a blog series on bad Photoshop or whatever. So it is worth just kind of mentioning do's and don'ts. And of course the really obvious ones are okay that if there is a flaw for example in the photograph there is dust on the lens or someone was photographed under fluorescent lighting and they have a pale look to them. These aren't accurate so that is always a good time to open up Photoshop and correct the photo. Anything where it is corrected for accuracy if there wasn't actually something there that is just in the photo when it was taken that it looks like there was that is okay. And of course beyond just correcting for accuracy if there is a copyright holder for that photograph and you have permission to make those changes then that is of course okay too. If you purchased it from a stock photo site generally that is okay. Of course check with their restrictions. If it is Creative Commons images then it is definitely worth checking because some will flag for whether it is okay to modify for commercial use for example. So always check that before you go around changing photos. Not okay of course is when you are changing a photo or the subject to meet a perceived social standard. Of course by that I mean like what Becky mentioned of course with people criticized fashion magazines for making model skinnier or making someone's complexion darker or lighter just to meet some kind of perceived accepted look. Just keep that in mind especially when you are working for social good cause if you don't want to get caught changing an otherwise great image to make a stronger message that isn't exactly accurate. And of course that can belie the good message that you already have and people may discount it. And of course as I mentioned before if you don't hold the copyright if it is not a free and okay to manipulate image then avoid that. So Becky it was nice enough to include a couple of great resources on here from TechSoup as well. This is of course in the PowerPoint deck that she provides where you can find great free and legal images which I've also used. Every image in today's presentation was completely free to use Creative Commons Zero which means anyone can use it, anyone can modify and you don't have to give credit. So feel free to download those as well and go along with me or just do it at a later date and watch for now. But you can manipulate them as you like. And we also have this top 10 sources for free images. So with that disclaimer I'll go ahead and get started. So the first thing I'd like to show are the basic retouching tools. Photoshop, the latest version of Photoshop which version I mean the Creative Cloud version has all these located under one little button on your interface. They all pop out from if you hold down that little icon you'll see the flyout window for the Spot Healing Brush, Healing Brush, Patch Tool, Content Aware Move Tool, and Red Eye Tool. Now these are in the latest version but these are not new to Photoshop by any means. The Spot Healing Brush dates back to Creative Suite 2. Content Aware Move dates back to Creative Suite 4 and the Red Eye Tool is also back as far back as Creative Suite 2. Some honorable mentions there at the bottom for the Healing Brush, Patch Tool, and Clone Stamp. I won't be covering those today. In some cases they take a little more finesse but the first three are really great for making those common and minor adjustments. So for the Spot Healing Brush great for removing blemishes and other imperfections if someone of course has a blemish on their face, it's distracting for the photo. It's not always there but it doesn't look great. Do you think people may be distracted by it in your marketing? Great to just remove it from that. What it does is it will match the tone around it and fill it in seamlessly. Content Aware Move Tool is where you can select and I'll be demonstrating all of these of course. I'm not just going to tell you about them. It's great for selecting an object in an image and then moving it elsewhere and then Photoshop will fill in the spot that it was in originally. And the Red Eye Tool, pretty self-explanatory anytime you've taken a photo is an otherwise normal looking person with glowing red zombie eyes. You can fix that pretty quickly. So let's go ahead and get started and I'll switch over to Photoshop and let's open up. Sorry, I had a photo ready to go. Let me grab that. Let's go ahead and start with this photo here. I got this one from the Website Pixabay which has all free images just of a backpacker. One other quick note too. I won't be covering a lot of interface or keyboard shortcuts so if you see me kind of flip around with anything besides the retouching tools, I apologize. We've covered some of those in previous webinars though so if you have any questions on that feel free to refer to that for quick ways to zoom in or move around on an image. And I'll also be giving a few moments as I open each image to let it load over slower connections. With all that said, I'll go ahead and start by showing the spot healing brush. So if I've got this gentleman here walking and he's walking on a path and I just scroll down so we'll get that a second to catch up. You can see the path that he's walking on is behind him and in front of him. If for whatever reason we wanted to make it look as though he's starting on his own path and we wanted to fill in this part behind him, the spot healing brush is a great way to do that. So choosing from the left here, you see the flyout. Spot healing brush is the first one. If you haven't changed this, this will be the default one that it's on. You can see it changes to the little band aid. We can also change up here. This is the brush size. It's at 105 right now. And because of the webinar you can't see on my screen, my cursor is actually a circle that's the size of the brush. But just to give you a sense of it, it's about the size of his head. So that's the size of the brush that I'm working with. So if we just take that and what you can see is where I'm filling in and it's just kind of a dark gray semi-transparent patch. So I'll just fill in with that which while I'm holding that in the mouse, it doesn't look great but when I let go, it fills in. It's not perfect and we can always go back and use other tools to change the tone and the color and the contrast. Anything just to make it look a little more accurate but rather than using some other tools to copy and paste and then try and smooth edges and all that, this saves us a lot of steps and it gives us a great place to start with to make it look as though this is a naturally filled-in patch of grass and he's beginning his own path forward. So let's go ahead and show you another example. I won't save that because I don't need to but let's go ahead and open up this one. This is some other backpackers. If for whatever reason we needed to move one of these backpackers farther down the path, something was very close to them. We wanted to highlight there kind of in the way. We can move them farther down. We can do that and I'll zoom in and scroll down. I'll give this a second to catch up while I go back over to where the tools are located. Again, moving from Spot Healing Brush. This one is the Content Aware Move tool. It's kind of a mouthful but I'll grab that. There's no cursor change here to speak of. On my screen it's just a little icon that's on the left with a little pointer so you're not missing too much there. But what I'll do, I'll select the man in front and I don't have to be very precise with this. I can just select right along him. What's nice about this image is behind him it's for the most part, it looks kind of like a solid color. Of course there's a little detail beyond the haze of the mountains but we don't have to worry too much about a complex background like a brick wall or someone's hair or something that makes it a little more difficult to move. In this case it's a fairly solid color. So once I've selected him I've got the marquee dotted around him. I can just click and drag him along and I'll move him, let's say just farther down right there. So I let go. It shows me where the original was. It shows me the placement of the new one. And all I have to do to accept that is just press Enter. Now he's moved down and you can see where he was is basically filled in by Photoshop. It's determining the color, contrast, tone, everything that's surrounding it and figuring out a context or in this case content aware move to move him along. And if I deselect just with Ctrl or Command B on the Mac then it's a pretty smooth move. I've moved him along. One thing I kept in mind about moving him is keeping in mind where his feet are placed on the ground. So let me go back and I'll do that one more time. I'll step backwards a couple of times. So I'll do it one more time just to show something I probably should have shown you in the first place, but repetition will always make it better. So when I swoop down on his feet I've moved him along and I'm moving him along the line of grass or rocks in this case. So if you take a look right where the feet are, they're firmly planted on the ground of course that would be realistic if he were actually standing farther down. Let's press Enter and deselect. And you can see it looks pretty good. I don't think I would look twice at that if I saw that in a magazine for example that he wasn't actually right next to his hiking partner. So that's the content aware move tool. Again great for moving an object that's again sort of a simpler background. And with every photo that I'm showing today it's worth keeping in mind that the more detail, the higher resolution of the image the more you'll have to work with in the same way that you can't make a lot of bread with a tablespoon full of flour and you can't knit a blanket with just a single piece of yarn. You're not going to get a lot of results out of manipulating a photo that's 300 by 200 pixels. So there's no hard and fast rule on what makes a high resolution photo but my personal rule of thumb is if the resolution the 300 by 200 shape size if that's below a thousand on each number, if it's below a thousand by a thousand it's not that high of a resolution. But nice thing is today any high-end camera, any smart phone really is going to take an image that is a high enough resolution that if you get the original you should have plenty to work with. So in this case this image is, let's take a look, 2000 by 1338. So you can see based on that size I was able to move that guy forward and it doesn't look like I did it with scissors and paste. So I'm going to cancel out of that and show you the third tool that I mentioned and that's the Dreaded Red Eye. Now this is a little more of an issue with older photos. A lot of cameras today will correct for this because this is to spare you the science of it just light reflecting within the eye and causing this effect. But Photoshop used to have to do it a little more manually now. This is just as simple as one tool. So I'll go back over to our tools on the left, hold that down, and change it to Red Eye Tool. It doesn't get any more obvious than that. There are settings up here that you can change for the pupil size and the darken amount. For the defaults are 50 and 50. That should be fine for our purposes. There's no again hard and fast rule on what those numbers should be. So generally I would recommend just trial and error. Start with the default, see how it works. If it doesn't, you can always undo, change the numbers, and try it again. If it's a larger pupil maybe try a larger pupil size percentage and so on. So to use it it's very easy. You don't have to be very precise. You don't have to select exactly the eye or anything like that. In fact I'll be kind of floppy with it. In this case I'm not sure if you can see it very well on the screen, but I'm selecting kind of sloppily around her eye including the lights, including some of the eyelashes, all of that. So I just basically draw a square, let go, and now that's one eye taken care of and we'll do it again for the other one unless you want one red eye. And there we go. Now she looks like an otherwise normal human being. So that's a pretty simple procedure. You can fix maybe older photos that you might have that are maybe unused because they have terrible red eye in them or if you still had some kind of fluke with your photo taken then that should take care of it. So those are three great quick tools. There are as I mentioned other tools under this menu, the Healing Brush Patch Tool. These are other tools that we'll take into account the surrounding area that you're fixing and then try and fill in as you need. There's also mentioned the Clone Stamp Tool which is located two spots below them. Clone Stamp is a great way to copy from one spot of an image to another. It's not as smart or intelligent as some of the other tools and take into account tone and all that, but if you need a direct duplicate of another spot in the image then that's a great way to do it. So I'm going to head on over back to our slideshow to reiterate some of these. So Spot Healing Brush, there's the link to the image that we used for that one. The Content Aware Move was used on this image and there's the link of course below and the red eye tool. If you really want to see that image again then the link is located below. Great. There's actually Wikipedia entry on red eye and that's the photo that they've used. So now those are three great tools for changing an image if you have just a very specific type of imperfection if there's a blemish or if there's an object that needs to be moved. If you want to really go all out and change a lot about an image and do it in sort of a streamlined way, the Camera Raw filter is your best friend. Now this one is also a part of Photoshop since Creative Cloud. If you have an older version of Photoshop, one of the Creative Suite versions it may be located in a companion program called Bridge. Originally Photoshop has been able to access raw photos for a long time and what that means is high-end cameras will take a photo without compressing them to save for space. So when you take a photo with your camera phone for example odds are it's compressed to a JPEG. The phone does that automatically to save space otherwise the image would be huge. So Photoshop is able to work with raw photos and the reason for that is that it has the highest level of detail when it's uncompressed. So magazines that have models on the cover will use a raw photo. They'll make the changes and then they'll put it on the cover. So Photoshop can do that but we don't always have access to raw photos. In fact, I almost never do. Everything I use is compressed in some way or another. The filter however lets you work with it as though it's a raw image with all the great abilities to make those same changes. So this filter is located under the filter menu, Camera Raw Filter, fairly obvious. You can enhance saturation, clarity, contrast and more and it doesn't destroy the original image until you accept the changes. So a lot of that might be kind of jargon, saturation and clarity and I'll cover some of that. But it's also been covered in some of our previous webinars too. So with that said, let me head over to Photoshop and I'll get started on showing you how. Of course there has to be some subject for photo fixing blemishes. So my apologies to this gentleman. There's nothing wrong with this guy first of all but this photo is a good example rather of ways that we can change things for someone's appearance or the overall quality of an image if we need to. So as we can see he's probably being photographed in like an airport or a train station. The lighting in here is not good because it's got kind of a yellow tint over it and for all we know maybe he's been traveling and he's weary and there's something about the photo that we need to change just to make him look a little more human or not so tired or whatever. So with that in mind let's go ahead and go up to the Camera Raw filter as I mentioned located under the filter menu and it gives it a moment to load because there's a lot of tools to it. So we can see the images loaded up again. It's got a lot of data over here on exposure, shadows, highlights. I won't be covering a lot of that either but if you're really knowledgeable about Photoshop this is a great thing to have just on hand. The one thing I wanted to draw attention to first of all is that yellowish tint that covers the whole image. So there's this section over here on the right listed as White Balance. If you've taken video or shot photos you know that your White Balance is something you want to account for before you shoot anything. In this case maybe that wasn't an option. So it's listed under default as shot which means it's just what you see is what you get. You can adjust that manually with the sliders below under Temperature and Tint. But I choose to go for Auto first because I'll let Photoshop crunch the numbers on what it should look like. So if I click Auto I'll give you a moment to see how that takes effect. So all of a sudden it looks normal again. It's a little washed out for my taste. I mean Photoshop is doing the best it can just kind of guessing at what it should be. So I'm going to take this temperature number down. It wasn't zero by default when I chose Auto. It moved to negative 42. I'm going to bring that up a little bit to just say let's say negative 35. And I think now he looks a little more human. The colors on his face and the shirt and the background and all that. Of course as you can see on the Temperature slider on the left it's blue. On the right it's kind of more yellow. These are sort of opposites in color terms when it comes to something cooler and warmer. So if you think of it in terms of temperature that makes a lot of sense. If you want cooler image maybe you need to communicate that. Maybe you're helping people who live in a colder climate and a photo looks too sunny and warm. And you want to just explain that this isn't actually, it's not actually that warm there. It is actually this cool looking there for example. Or you just want to make somebody look more human if they look too warm or too cool. And the temp below we can adjust that too. Photoshop is guessing at 25. Let's bring that down a little bit to 20 just to give a little more warmth on that one. I think I like that better. So we can also choose some of these other settings down here. This is a lot of your saturation, or not saturation, excuse me, your brightness and darkness of the image. We can choose the exposure, contrast, all of these. And again you can manually adjust these as much as you like. I like to start with the auto and then go from there. So if I click that the image lightens up a little bit and I hope you can see this on your screen. And if not, again feel free to grab that image that I linked to from Pixabay and adjust it. I'm generally sorry for making this guy the poster child for changing the photo, but the photo does serve its purpose. I think in this case it's a little overexposed meaning that it's a bit too bright. Things get kind of washed out. So I'm going to bring this exposure down from 0.4 to maybe 0.2. You can see the image got a little bit darker. But I think that helps in this case. I can adjust contrast, highlights, shadows, blacks, whites, all that. Basically what those are doing is you're making the darkest parts darker, for example his hair and the whiter parts whiter like the sign or whatever that is, the lights behind him. We can bring those up and down but I kind of think this looks good as it is. The other thing we can point out here is clarity. Now when you see, I keep going back to the magazine cover example, but it is a good one for do's and don'ts, when you see a notable figure, let's say on the cover of a magazine, and you know that they don't look that young, this is a setting that they're changing. If somebody is older and they have wrinkles or they have a lot of texture in their face, pores, things like that, the clarity is what the Photoshop engineer or whatever you want to call them is adjusting. So I'm going to zoom in for an example on this. We can see that this gentleman has, you can see the pores on his forehead because this is a higher resolution photo. If I bring down the clarity, I'll bring it down to let's say negative 38. You can see it kind of becomes a softer filter. If you've seen older black and light movies, there's kind of a haze over maybe the actress since she's looking glamorous. This is sort of the same effect. You're removing the detail so that you don't notice these imperfections, let's say, even though they're really not. So if I bring it back up to zero, you can see the sharp difference between negative 38 and zero. All of a sudden his complexion is more visible. If I bring it up, let's say to 40, a positive number, then you can really see the detail. And if I zoom out, you can see the whole image has kind of a cast over it. You can see the darks are darker, the lights are lighter. And this has what they call like an HDR look. It's a high definition resolution look. And that may be what you want. In this case, I think it makes him look a little worse. It looks like he's got top-down lighting and it's kind of, it's not flattering. So let's just leave that at zero. We don't need to account for anything like that in this case, but you may run into that at some point. And clarity can be your best friend. So knowing that, let's move on. There are tools up here at the top, including the white balance tool, which I mentioned on the right. You can adjust the white balance, color sampler, target adjustment. I won't be covering some of those, but what I will be covering is some things that may look familiar like spot removal, red eye removal. There's an adjustment brush which I'll show later. But these two are basically the exact same tools that I showed earlier. We can make adjustments by, in the case of the man on the hiking trail, we removed that whole trail. And Photoshop did all the work without asking us, well where should I sample this from? What should I look for that's similar to this spot to fill in to make it look normal? We can tell Photoshop with the camera raw filter where it should sample from for an even more accurate representation. And of course the red eye tool, very obvious. If he had red eye, I could fix it. In this case he doesn't, so I won't need to use it. But I will point out with the red eye tool, with the regular red eye tool this is not an option, but with camera raw filter this is an option. On the right side we can choose a type. Red eye is the default. That's the normal one for the tool in Photoshop normally. If we change that, there's pet eye. I've made adjustments to photos of my own dogs to account for red eye. I don't know why, but there is something a little different about pet eyes versus our eyes. Photoshop gives you an option to change that. So if your organization happens to work with animals you've got great photos and they look like they're possessed, this is a great way to exercise them. But again this is not really relevant to this photo so I'll kind of move along. But let's go ahead and go back to that spot removal tool. Again there's options on the right for heel and clone. I think heel is a little better. It takes into account more of what surrounds it. It takes it into context. And I'll show a little bit about what I'm talking about. You can adjust the size here, which is the size of your brush. On your screen unfortunately you can't see but there is a circle that my cursor is on my screen. For reference it's about the size of his pupil. So that's 5. I'll leave it at 5 because I think it will work for what I'm about to show you. But you can make it much larger if you have a very large imagery. You need to really repair something large. The feather will determine how much around the edge of the brush is kind of smoothed over. If you want it very hard you need this exact circle to be, or whatever you draw to be filled in with that shape and no blending from the sides. Then you can bring that down to zero. Or if you want absolute sort of airbrush style you can bring it all the way up to 100. And opacity will just determine whether it's completely filled in or somewhat filled in or not filled in at all. So 100 means completely filled in. That's what I want. I think all these settings look great. But again you can always undo, redo them. So with all that said let's go ahead and zoom in with the Zoom tool. And he's got a couple of birthmarks and moles on his forehead. Those are fine. Let's just assume that these are blemishes. So for the sake of the demonstration we'll remove them. I can just go back to the Spot Removal tool. If I move over them the circle brush that I'm working on I'll give that a chance to catch up. The circle brush that I'm working with will just cover the whole mole. So if I just click on that. Now we can see our two circles. The circle where I clicked and then one next to it. The one next to it is where Photoshop is guessing what would be a good place to replicate. To sample from a similar spot in the photograph to cover over the original. The nice thing about the Camera Raw filter is I didn't have this option when I did it originally. Now I do. And I can click and drag on that. And I can say, well the angle of his pores are more consistent over here than they were where you thought it was Photoshop. So you can use that as your sample base. Now it will stay on there unless I choose to show overlay. If I turn that off it will disappear. And you can adjust this with just the V key so I can go back and forth. And so it leaves all these on there because rather than commit to all these changes as they happen I can look at the entire image and when I'm ready then I click OK. So for right now that's going to stay on there but I can show you as we go how the image looks. So there's one here. If I wanted to remove that as well I could click it and adjust where I want that to sample from. I think that looks good. That sort of matches his complexion in that spot of his forehead. He's also got a few gray hairs here. And again gray hairs are nothing to worry about but just for the purpose of this example if I wanted to remove those then we can do that as well. And I'm going to move the image down a little bit so that we can see them a little better. So in the cases of the mold I just needed a one dot. One circle covers that up without a problem. In the case of the hair though it's longer and if I used a bigger brush it would take in a lot more than I wanted to. So what I can do is rather than just do one single circle I can draw a patch, kind of fill that in. And unlike in the regular version of this tool where it fills in a dark kind of grayish area this just gives us an outline until I let go. So I filled in this section around two gray hairs and now it's trying to guess where it should sample from. And it guessed completely wrong. But that's fine because we can adjust that. If you can see that on the bottom left it's sampling kind of in the background where the light is. That's not what I want. So if I click and drag that up to another part of his hair and generally when we sample from somewhere else in the image it's great to sample something that's close by, something on someone's face because that's going to be the most similar. You won't sample from your chin if you're fixing something on your forehead or you won't sample from the tip of your hair if it's closer to your scalp. So generally right next to it makes it look like it's been cloned and it's obvious but if it's kind of close your eye just generally looks past it. So because his hair close up is sort of salt and peppery this is a great place to sample from because it's close-ish but it's not right next to it and it's of course a lot better than the background where the light was. Now because it's a large area and I want to see how it looks I can show the, I can hide the overlays by pressing V and I think that looks pretty good. It's not a direct clone. It's filled in all those hairs. I can turn it back on and we can do it one more time with this little spare hair down here. It's sampling from his morbid sideburn. That might be alright. Let's see how that looks. Yeah I think that's fine. So we can turn that back on and I'll zoom back out. Now if we want to change anything else on here, for example his chin around the edges of his mouth and right underneath his eyebrows there's a bit of a light cast on his face and that could be from light reflecting from the floor. It could be from maybe a lamp nearby or a halogen light that's sort of in front of him. We don't really know where it's from but we can try and fix that by using the adjustment brush which I mentioned earlier. Now when I first opened up this photo and I'll go back to the original settings on the right we have all these settings to change for the entire image. We can change the entire white balance. We can make all these adjustments to the entire image for its clarity or the contrast, things like that. If we wanted to make those adjustments to one particular area we can do that with the adjustment brush. So if I click the brush you'll see that options on the right don't change too much. We still have temperature, we still have tint, exposure, contrast, highlights, all of these settings are still there. We have this setting here for creating a new adjustment which it gives us by default because we can't add to or erase anything. There's no adjustment that's been created yet. So if I zoom in again let's say, let's zoom into his chin. There's the most light there. I've got a brush which of course you can't see but take my word for it. I've got a brush and I'll start painting in an area on his chin. In this case we're not getting the outline, we're just getting a light kind of airbrush color on there. And this is not the color that we're applying, it's just showing us where the adjustment will be applied. And of course it's not a hard edge. It's got that airbrush look to it which means that it will feather along with the rest of the image. And with this we can adjust the temperature, the tint, any of the highlights, all of these properties to make his skin tone appear more like the rest of his face rather than this part that happens to have some kind of sheen to it. So we can adjust, let's say we'll bring the white part down, we'll bring some contrast down, and we'll bring the temperature up. Now if I hit V we can remove the overlay. Let's see, or the mask rather in this case. I'm sorry about that. This should be the mask, not the overlay. The overlay just removes a little pin. But I think that looks a little better. It doesn't seem as bright and obnoxious. And I think he looks a little more human with it too. It's not perfect, it'll need some more finesse, but we only have a few minutes left. So I don't want to spend all my time showing you all that. But that's a great way to adjust parts of an image. And again I mentioned the clarity tool earlier. If there's too much definition in someone's face, it's too high a resolution. But only in one part we can use this to bring that down too. For example, let me create a new adjustment. If I wanted to do that, he doesn't need this. But if I wanted to do that for his lips, I could select just kind of an affected area and I could bring the clarity down. Of course it still has the settings from before. So if I just change some of those, let's say the contrast and the tint, this is looking bad. But I should have reset these settings first. So my apologies for that. But it serves the point that if you wanted to bring the clarity down or up in a certain area, or any other setting, contrast, brightness, things like that, you can do that too, rather than applying to the whole image. Or if you wanted to fill in for just part of his mustache or anything else. So let's go ahead and erase this area. I don't actually want to fix anything there. The chin looks okay. I could use some work, but for our purposes I'll leave it. So that's the finished product for just touching up his photo. And it only took a few minutes, even with explaining all the steps. If I hit okay, it will take Photoshop a few moments to render and then it will show you the new version. If I go back, I can show you the original. That's what we started with. After camera filter, definitely a step forward. I could use a little more finessing if I wanted to put this on a magazine cover for example, but for our purposes it's pretty effective. I only have a few minutes left. But the other tool that I wanted to show you is the liquefy filter. This one is located also under the filters menu. This one can be dangerous. As Becky mentioned earlier, it can be diabolical. In this case I think it is. This is one that will let you push, pull, rotate, reflect, pucker, or bloat any part of an image. And it's a lot of verbs. But basically if, and again I keep going back to the examples of the worst Photoshop uses, and I think you'll understand why, if you are bringing in someone's weight for example, you're making someone look thinner, or you're making someone's eyes look bigger, or whatever, this is the tool that you're using. So I'm going to head back over to Photoshop and I'll show you what I'm talking about. It's as I mentioned under the filter menu. Now with all those bad reasons to show it, why am I showing it anyway? Because if it's used subtly, it can improve an image. If there's something that, the figure of an image, there's something just behind them off to the right that you want to move in and out of the way. You want to nudge something. You want to bring something a little bit more into focus just to highlight that part of the image to enhance it. This is a great way to do it. But it is a little bizarre, so I apologize for what will happen to this poor gentleman's image. But on the left here are your options. We've got the pucker tool, bloat, and push left. I mentioned some of these a moment ago. The pucker tool means things will be contracted, whatever I select. So if I in this instance use it on his eye, and I hold it down for just a moment, you can see his eye looks smaller. Same thing with the other eye because I need symmetry. So it shrinks his eyes. If I wanted to use, for example, the bloat tool, bloat is of course the opposite of pucker. It will make something expand. If I use this on his nose, his nose begins to look larger. He's looking kind of cartoonish at this point and that's why it can be so dangerous because you really want to make sure that you have a good brush size which is always on your right. And you can adjust the amount of pressure which means that the longer you hold it down the more it will affect that region of the image. You can increase or decrease the pressure and adjust that accordingly. We can remove all distortions and bring him back to being a normal person again. There's also a push left on the side here which means that you can nudge something up or down. Again, now it's just bizarre and cartoonish, but if you change the pressure, if you change the size, you can make it look normal. And the only reason I'm using it at such extremes is to really show you exactly what I can do. So I'll restore and I'll make him look normal and just to be sure I won't accept those changes and he can still look like a regular person who is on a trip somewhere. So those are the tools that I wanted to show you today. Again, those two are both located under the filter menu and the image is located here on Pixabay. Go nuts with it. Just apologize to him for making him look too bad. So we do have some great resources. We have some resources. There are some other great ones out there as well from Adobe. I would include Vandalay Designs, a little Photoshop basics because it covers a lot of the really important stuff on the interface and just basic concepts rather than the technical ways to use the tools. Lifehacker also has a great series on learning the basics of it. And we've got a few things here that I've had a hand in making. The Intro to Photoshop for Nonprofits will show you how to make a poster even though of course posters are better designed and something like InDesign. It's a great way to learn the basics of it for changing an image, cropping it, adding text to it, things like that. We also have our previous webinars on Photoshop for Beginners and Advanced Beginners which I covered just most recently. Adobe's got a great short video from Lynda.com. It's free on how to retouch a portrait which is very useful here. And as Becky mentioned, we now have a quiz for showing you how to choose the right Adobe app for your project. And of course a lot of the images that I mentioned today came from Pixabay. There's other great resources like a Noun project which has icons for just about any purpose. And of course Creative Commons is your friend. If you don't want to pay for an image but you want it to look like a regular non-stock human being. So that will do it for me. I'm going to hand it back over to Becky. Becky- Thank you so much. That was a lot of learning all at once. I'm going to go ahead and I'll keep this up while you still have your screen sharing just to show this other list of resources. These are from Adobe Photoshop, Creative Clouds Help section. They have a whole bunch of great short tutorials, some are video to be able to show you specific things to do as well that are in line with this topic today. So how to create your first design, how to fix flaws and retouch photos, cover some of what Wes just went over, creating an image that's social media appropriately sized. So they have a whole bunch of great resources within their Help resources too. So I wanted to just share those links. And again, we know these aren't clickable while on screen, but you will be able to click them from within the PowerPoint deck and we'll include them in the resources that you receive in the follow-up email later today. I want to go ahead, before we get to the Q&A, we have a few great questions in the queue and we've been answering some behind the scenes. But before we do that, I want to bring in Wes too, Wes White. We want to get him on the line just to talk quickly about where you can get Adobe. So if you maybe have an older version of the installed Adobe Photoshop and you want to upgrade and you want to have access to Creative Cloud or you need it all together and you just wanted to watch this event today to see what it can do, Wes is going to talk to us about where you can get it through TechSoup's program. Cool. Thanks Becky. So before I go into that, I'd just like to say that a really exciting new development with Adobe that happened relatively recently is that the Adobe program opened up to all organization types and all budget sizes. So any nonprofit can now get Adobe tools and has access to those products. So really exciting news there. Now there are a few ways to find the Adobe page on TechSoup. The first is that you can go to the TechSoup homepage, TechSoup.org, and then go to Browse Catalog on the left-hand side by donor or provider and then click on Adobe right at the very top. That will take you to the Adobe product page directly. The next way is by going to TechSoup.org slash Adobe dash software dash nonprofits. That will take you to this new really cool updated page that we have that shows all of the available products as well as an exciting new video introducing the program and showing what we have available. Now if you want to get access to Photoshop specifically, we have a few options for you. The first is for Photoshop Creative Cloud. We have two options for that. One includes only Photoshop Creative Cloud and Lightroom Creative Cloud. That one is an annual subscription. You can get access to this discount by paying a $5 admin fee and then you get a link to discounted rates on Adobe.com. You'll pay $7.99, around $8 per month, or I think that comes out to around $96 for the year. That's a 20% discount for the first year and then the second year you will have to pay the retail price on Adobe.com. The second offer includes not just Photoshop CC but also all of the Creative Cloud apps. It's the Creative Cloud All Apps package. This is also a $5 admin fee for access to discounted rates. It's a 60% discount for the first year and then a 40% discount for all of the following years after that. That includes not just Photoshop but all of the other apps like InDesign, Premiere Pro, Dreamweaver, and a bunch of others. That with a 60% discount comes out to around $20 per month or $240 per year. If you don't need all of the full versions of Photoshop, you can get Photoshop Elements and Premiere Elements for an admin fee of $27. Another really exciting thing that's coming out next week is Acrobat Pro DC. So we have Acrobat Pro 11 on TechSoup right now for an admin fee of $55. But if you want the most up-to-date version of Acrobat from Adobe, Acrobat Pro DC is coming out for a limited time offer on TechSoup. So keep your eye out for that. Thanks Becky. Great. Thank you so much for that Wes. And I was just about to chat out that if you are not already subscribed to our product alert newsletters or are by the Cup newsletter that the best way to find out when new products like that come into our catalog is to be on one of those newsletter lists because you'll find out about it first. I'm going to go ahead and get started with questions. We had some folks asking about what to do with animals and their eyes. And you mentioned that there is that option in the Camera Raw Filter tool. But on the back end I also wanted to mention that Terry from Adobe mentioned that in the Lightroom tool there is also an option to select red eye or animal eye to help with that reflection. So you can access that in two different tools. So I just wanted to mention that as a useful thing for the couple of people who asked the same question. In that vein though Wes, we had somebody who asked about what to do with a reflective glare off of eyeglasses. Is there anything to be done with that? Or if you are editing somebody's red eye and they've got pretty light blue eyes to begin with it can sometimes make their eyes look too silvery. Is there anything to do to adjust that? What do you recommend? That's something that definitely went into a lot. For example, someone is sitting in front of a computer screen and the screen is then reflecting off of the glasses or it could be lens flare from the actual, if you needed a flash. The best thing I could recommend, let me start sharing my screen here. I don't have an example to start with but if I share Photoshop with you again, I would still recommend either going into the camera raw filter again. In this case, let me bring it back up. Oops, that just reapplied it. Let me start that from here. So as I mentioned, you've got the Adjustment Brush. It's a great way to finesse the exact part of the glasses where the reflection is. You can select just that part and then try and bring down the exposure of it. Because it's a transparent substance, it's glass, there is something behind it. You can bring that down to try and bring forward the actual color that's behind it because basically what's happening is that light is being reflected off of it and into the camera lens when it was taking a photo. So if you can bring down the glare from that with some of these tools over here. And again, it could be highlights, it could be that you need to adjust the contrast, maybe even the lights if it's a light light being bounced off of it. You really just need to play with it in that case. But the nice thing about the camera raw filter, like I mentioned, you can paint an area and then make adjustments to it without being destructive. And one thing I didn't show is that in this case, let's say I paint, and we'll just assume that this is for the purposes of the glass. If I paint this one area of this forehead for example, and it's got that airbrushed look to it, I can also use a race and then trim out any part that I don't want. And I don't know if you can see that on your screen very well, but this now has a harder edge along it. So if it's in the case of an eyeglass and it's a camera monitor reflecting off of it, you've probably got an edge because of the camera monitor. You can get a sharp edge around that so you don't change the contrast properties of whatever is behind the eyeglass on the rest of the glasses. Sorry, I can't be more specific than that without an example in front of me, but that's where I would start at least. Great. And for the bluish silvery tint that happens to eyes, is that something different that you would do? It's similar. So as I mentioned, the temperature here is a good example of being cooler with the blue and warmer with the sort of yellowish. You can see this in other features in Photoshop and you're making adjustments giving you that same range. If I have a new adjustment on his eyes, I can do the same thing here. And again, you can't see my cursor being a circle but it is the exact size of his pupil. If I click on that, I've got one part of his eye and I can adjust now the temperature of the inside of his pupil and I'll zoom in and I'll show it. I don't know if you can see it on your screen now that it's caught up zooming in, but there is now a different tint on his left eye, our right, than there is on the one on the left. If I can keep bringing it down, I can change the tint on this as well, bring it up or down. Now he's got two different colors on his eyes. He's got kind of a David Bowie thing going on. But that's a great way to make those adjustments. And again, you can trim the affected area as you need it and you don't have to accept the changes until the entire image is done. Great. In that same line of thought, Sharice asks, how do you confirm changes when you've made them with the spot removal tool? Because it's leaving the circles there. She's not sure if she should hit OK or if that closes the window. So if you do want to confirm it, how do you go forth and do that? That's a good question. So in this case, as you can see, there's the dot on his eye because I used the adjustment brush. If I used, as you mentioned, the spot removal, then I'll get an affected area, sort of an outline. Those will stay on there until you accept. If you want to see the image without them, the show overlay will show and hide them. Or if we're using the brush, we can choose the mask to show the mask or not, and the overlay as well. Once we're done, we've made all of our adjustments. We like how it looks. All you need to do is then just hit OK. And then Matt will take everything you applied and change the image. So you can see he's got a weird color on his forehead now and he's got two different colored eyes. And that was just from accepting it with the OK button. Great. That's good to know. We don't need to leave him with multiple colored eyes if we don't want them to be. We have a question about blurring faces. So this isn't necessarily covered in one of the tools that you already reviewed, but specifically for people who work with sensitive audiences where they might have to have somebody's face blurred out, or they may want to blur, have it focused more on the background and have a whole person sort of there, but fuzzy, what would you recommend using for that? That's another really good question. There are a lot of schools of thought on the best way to obscure someone's identity. You can imagine any particular case where that could be necessary. Some people like to pixelate them. Others like to blur them. You can also use a mosaic style like a stained glass window kind of thing. And it all depends on what looks best and most natural without being too distracting. In this case, which you can do, I would always, and if you're not using something like the camera raw filter where you can make all your adjustments at once, I always recommend duplicating your layer first, basically making a duplicate of the image within it. So I covered layers in a previous webinar, so hopefully that's not a foreign concept. But if it is, it's just under the layers palette. You can right-click on the only layer there would be if it's just an image and then duplicate layer is right there. And then it will give me this background copy one here. It always saves me a step if I really go off the rails and make it look terrible. I can just go right back to it without losing anything. And it's also a great quick way to revert without losing a bunch of other changes I may have made. So all that said, you can do something similar to the adjustment layer that I – or excuse me, the adjustment brush that I showed earlier. There's a quick mask down here on the bottom left. And I hope I have enough time to show you this. So if I click on Edit and Quick Mask, and I choose a brush, you can see up here my brush size is 80 and it's kind of feathered. That's not very large for this image. To give you a comparison, it's about the size of his right nostril. So that's really tiny. So let me bring that up. I can choose that carrot menu and I'll change that to let's say 500. Now I've got an image that's – or a brush that's maybe the size of the front of his nose. So that's going to really cover a lot of area. I can paint along – and I don't have to be too precise with this, but I can paint along and it will basically start making his face red. And I'll just fill in quickly. This is going to be a very quick and dirty job. So I apologize if the results aren't stunning. But now he's got a red face. That's not what we're looking for, but that's okay. All we're doing right now is masking it in the same way that if you're painting your wall, you would mask off parts that you don't want to paint. We're masking off parts of his face that we don't want to paint, but we actually do. So once I've masked that area, I can turn it off. Now you can see there's a marquee around his head. It's also around the entire image, which means I've selected everything but his face. Quick way to change that under the Select menu, Inverse. Now I've just got his face selected from here. And because I've used a blurrier brush, a feathered brush, I can choose Filter. There's a blur. There's a lot of blur options. And I don't have time to go into all of these, but the standard, the one that I prefer and I think a lot of other people start with is just a Gaussian blur. I can move this over. And you can see his face is now blurrier, but not really blurry. I can start moving that pixel radius, which is at 10, because that's one thing I used last. I can move it way up to like, let's say 585. Now he's just a smudge. So maybe that's too much. We can start adjusting it 300's too much. We can try 200. You can see it will adjust the preview on the left as we go. Let's just assume it should be 75. Now you can see some physical features. It's not perfect. Maybe a different blur would be the way to go, but that's where I would at least start. Assuming the person's face is not the focal point, maybe he's in the background and you want to blur him out, that's probably the best way to start. Please go ahead. Okay, sorry about that folks. We just moved to a different room really quickly. Apologies for that. We would love it if you would take a second to chat into the room one thing you learned during today's webinar, or we'll try to implement once you go back and do this on your own images. We'd also like you to share this with your colleagues and anyone who might have interest in this topic within your network that would find it useful. And we invite you to take that post-event survey as well. Lastly, before we hang up our line, I want to let you know about some upcoming webinars we have that you're welcome to join on Tuesday next week. We will be talking to libraries specifically about how to maximize their tech and get donations if they're not already familiar with how to do that. We are going to talk about PC troubleshooting next Thursday. And I just put a reminder on here that if anybody participated in our Storymakers series of webinars, our contest submission deadline is May 31st. So if you've got a short video or photo story to submit, you should please do that before the 31st. Then we'll have a couple of webinars with Microsoft, one on PowerPoint for beginners, the second, and another on the ninth on One Note for Beginners. We'll also talk about how to get tech donations before our fiscal year end. So if you're new to TechSoup and want to get the most out of the tech donations that reset as of the fiscal year, please join us for that. We'll have another webinar on Adobe products about Premiere which is their video editing tool. So if you have video footage you need to edit, join us for that one. And we'll be talking about Library Privacy and Digital Literacy Skills for Children. So a whole spate of webinars coming up from now through middle of June. Keep watching our calendar and visit our webinar archives for more. You can also check out ReadyTalk, the platform that we've been using today for this webinar if you'd like a tool like this. So we'd like to thank them for providing it. And thank you so much to Wes and Wes for their presentations today, specifically for showing us all of those great tools. We hope that you have learned something useful to you, and we hope that you'll take our post-event survey to let us know how it worked for your purposes and what we can do to continue to improve our programs. Thanks so much everyone. Thanks to Susan and Terry on the back end. And have a great afternoon. Bye-bye.